Octava Conferencia Interamericana de Educación Musical 30 de Septiembre al 4 de Octubre de 1991

T HE EIGHTH INTER-AMERICAN Music Education Herrera (), lgor Lanz (), and Fer­ Conference held at Washington, D.C., September 30 nando Lozano (). Dr. Emma Garmendia, to October 4, 1991, enjoyed the sponsorship of the Director of the Latín American Ccnter for Gradu­ Organization of American States, CIDEM (Consejo ate Studies in Music (LAMC), the Benjamín T. Interamericano de Música), IAMF (lnter-American Romc School of Music, The Catholic University of Music Friends), The Catholic University of America, America, was Principal Speaker at the Thursday and the lnter-American Development Bank. At the morning session during which Conclusions, Resolu­ inaugural ceremony, held in the Andrés Bello Au­ tions, and Recommendations were drafted. lnspir­ ditorium ofthe BID, 1300 Ncw York Avenue NW, ing rcmarks from Alfredo Henares, President of the Washington, D.C., delegates to the Conference Cultural Activities Committee of the BID, and by received greetings from Dr. Enrique Iglesias, Presi­ Professor Efraín Paesky-who from beginning to dent of the Banco Interamericano de Desarrollo, end was, with his illustrious wife, the soul, the ispir­ from Ambassador Joao Clemente Baena Soaues, ing force, and the constan! befriender of every con­ Secretary General of thc Organization of American structive moment in the Conference-brought thc States, from Ambassador Luigi R. Enaudi, Perma­ weck to its close. nent Representative of the USA to the OAS, from On the motion of Dr. Emma Garmendia, the Jaime González Oliver, President of CIDEM, from following allocution given as the keynote address to Efraín Paesky, Secretary General ofCIDEM, from the Conference, was selected for translation by Dr. Elaine Walter, Dean of the Benjamín T. Rome Leonardo Manzino () for circulation to School of Music of The Catholic University of prominent Latín American music educators unable America, and from Samuel Hope, Executive Direc­ to attend the sessions of the Eighth Conference in tor, National Association of Schools of Music of the person. The keynote speaker began by reminding . the Conference participants that among the Incas, In the order of their appearance, the following the numbcr eight symbolized power. Therefore the delegares read papers or participated in panel dis­ Eighth Conference held on the eve of the Columbus cussions: Guillermo Scarabino (), Ruth Quincentennial had every right to join hands with Steiner (USA), Nicolás Suárez Eyzaguirre (Bolivia), rulers of thc largest empire in pre-Columbian Leila Josefina Pérez y Pérez (Dominican Republic), America-who in their most productive forays Rosario Álvarez (), Dieter Lehnhoff (Guate­ placed their faith in the number eight. The keynote mala), Manuel Carlos de Brito (Portugal), Margarita speaker continucd thus: Fernándet (Chile), Barbara Henry (USA), Isabel Palacios (Venezuela), James Pruett (USA), Alfredo All of as assembled here today are supremely Rugeles (Venezuela), Robcrt Austin Boudreau gratcful to thc organizcrs and sponsors of this wcek 's (USA), Gerald Brown (), Margarita events. May 1 start my tribute to the organizers of

129 130 INTER-AMERIC' AN MUSIC' REVIEW

10 thi!. week 's events by offering congratulations Merse nne, who died at París aged around 60 in 1648, Jua representatives here present today from Argentina, included Jcan de Léry's Tupynambá melody tran­ of Bolivia, 13razil, Chile, , and the rest of the scriptions in his Harmonie universelle as proof that por OAS romance-speaking nations-warmest congratu­ American indigenes knew the diatonic scale instinc­ sign lations and felicitations because it is you who can tively, and never sang chromatic melodies. Mer­ sorr take pride in the most long-lived and loftiest musi­ senne's assertion was repeated more than a century p cal heritages enjoyed by any nations in the Western later in Jean-Jacques Rousseau's Dictionnaire de la pro Hemisphere. musique (first editan, 1767). oni The United States enjoys no comparable heritage. May we emphasize what priorities are enjoyed by qua Compared with the musical history of those nations nations to the south of us by repeating what advan­ per now occupying territory once ruled by Aztecs and tages they can boast over the United States: (1) the pez Incas our musical history began yesterday. The first first composcrs (2) the technical superiority shown edl composer born north of the Rio Grande was William in the earliest surviving music by composers who ap¡ Billings of Boston, Massachusetts, whose dates are made their careers in Mexico, , Peru, and of 1746-1800. But Bolivia, Colombia, Guatemala, the like, as contrasted with the homespun qualities la ti Mcxico, and Peru boast composers already active in of fuging tunes and anthcms by the tanner William Sal 1he sixteenth century. All that William Billings who Billings, the comb maker Daniel Read, and the 161 was a tanner by trade knew of music theory, he had breeder of horses Justin Margan (3) hand-in-hand by learned from country teachers who travelled a rural with the technical competence of such masters as Zu circuit in England, chiefly William Tans'ur (1706- (who died at Mexico City in 1585 fo 1783). On thc other hand, Francisco López Capillas, after a notable thirty-year career in Guatemala and Ju who was born at Mexico City in about 1604 and died in Mexico) and of Gutierre Fernández Hidalgo (who A1 there J anuary 18, 1674, in t he full flush of his crea­ moved in the late 1580's from Bogotá to Quito, then ex tive powers, himself wrote a music trcatise to preface to Lima, to Cuzco, and finally to the capital of the his Missa super Scalam Aretinam. In the treatise he Andiencia de Charcas, now named Sucre) went their ta testifies to his acquaintance with such great masters documented teaching skills. At what is now Sucre, re ,\j of European polyphony as Jean Mouton who died Fernández Hidalgo completed five thick volumes of at París in 1522, Jean Richafort who was a choir­ polyphony in the first decade of the sevcnteenth cen­ e master at Bruges from 1543 to 1547, and Cristóbal tury. Joining Hernando Franco and Gutierre Fer­ o¡ de Morales, who published books of Masses at nández Hidalgo, at least another two dozen notable fe Rome in 1544 that circulatcd only ten years lateras composers nourished in Mexico, Central and South Ie JI far away from Romeas Cuzco, ancient capital of the America befare 1776, their surviving works giving Incas. The first publication in English America con­ proof of their greatness. Hand-in-hand with their e taining any music appeared at Boston in 1698 as a technical competence that enbaled them to cultivate e componen! of the ninth edition of the Bay Psalm all the larger forms of musical composition preva­ SI Book. In contrast music publication began at Mex­ len! during the sixtcenth, seventeenth, and eighteenth sl ico City as early as 1556. The first Western Hemi­ centuries, hand-in-hand with that cxpertness in 1 sphere publication to contain any polyphonic music, counterpoint went a vast acquaintance with the best h that is to say music in severa) parts, soprano, alto, historie and contemporary works produced overseas. n tenor, and bass, appearcd at Lima, Peru, as early as In the same century as Sor Juana Inés de la Cruz, the 1631. What is all the more interesting is the lan­ "tenth muse," showed herself a paragon of learn­ guage. Instead of Spanish the words of the 1631 ing that included close acquaintance with Pedro Ce­ processional hymn, beginning Hanacpachap cussi rone's El melopeo y maesrro (a treatise which she cuinin are in Quechua, language of the Incas. For annotated), Mexico City bookshops sold such a ~till another priority, the first mclodies by any monumental successor treatise as Andrés Lorente's Westcrn Hemisphere lndian tribe to be recorded in El porqué de la música (Alcalá de Henares, 1672). music notation were taken down as early as 1557. The leading 1\lcxican-born playwright of the century, They were transcribed by a French traveller in the Juan Ruiz de Alarcón, intcrspersed musical allusions ncighborhood of Rio de Janeiro, Jean de Léry. The in his dramas that prove him to have been no Jess five Tupynambá melodies which he notated played musically knowledgeable than Lope de Vega. But a historie role in European music treatises. Marin while Iiterary frontrunncrs such as Alarcón and Sor Octavo Conferencia Inreramericana de Educación Musical 131

Juana made their poetry and plays still the staples y Aparicio began being recorded by the distinguishcd

of literary history, their Mexican-born contem­ Roger Wagner Chorale and issued by Angel Rccords poraries of the same century who excelled no less as long ago as 1966. At present fivc Long Plays have significantly in music remain for too many of us have been issued at Los Angeles in thc Eldorado somewhat shadowy figures. series. Among the composers recorded in the Eldo­ For a composer's works to be appraised and rado series are not only all those whose names havc properly appreciated, they must be performed, not already been mentioned, but als·o Pedro Bermúdez only performed, but in our day, performed adc­ who served as maestro de capilla at Cuzco, Antigua quately and recorded. What choral groups are now Guatemala, and Puebla at the turn of the scven­ performing the choral masterpieces of Francisco Ló• teenth century, Gaspar Fernández who succccdcd pez Capillas, born at Mexico City in about 1604, Bermúdcz at Puebla wherc he died in 1629, Manuel educated at the University of Mexico and at Puebla, de Zumaya who ended his carecr at Oaxaca in 1755, appointed in 1654 director of music at the Cathedral and José Maurício N unes Garcia born of an African of Mexico City in which city he died two decades mother and Portuguese father in 1767 at Río de later? Or the choral masterpieces of Antonio de Janciro wherc he died in 1830. Salazar, Mexico City Cathedral's music director Does this paradc of names mean anything to mu­ 1688 to 1715, in which latter year he was succeeded sicians trained in North and South American conser­ by his pupil born in Mexico City, Manuel de vatories of music? Probably not. The name of Zumaya? Choral organizations interested in per­ Domenico Zipoli who emigrated from Italy to Ar­ forming the sublime works of Hernando Franco, gentina where he died in 1726 may mean something, Juan Gutiérrez de Padilla, Francisco López Capillas, simply because his organ and keyboard works werc Antonio de Sal azar, and others of their breed, do published at Rome and London in his lifetime. His exist in England, where in 1990 a compact disc con­ finest South American composition fortunately taining masterworks of all four of these geniuses was found its way into the cathedral archive at Sucre, recorded and is now commercially available­ Bolivia, whcrc it was my good fortune to encounter Masterpieces of Mexican Polyphony (Hyperion it in 1959 and to transcribe and publish it sorne few COA 66330). Atan appropriate moment, 1 covet the years later. Another name that circulates in thc opportunity to prove the majesty and beauty of these United States because of his African ancestry, is that four composers' works by having those of you in­ of José Maurício Nunes Garcia. Columbia Records terested hear a cassette containing excerpts from the includes his 1816 Rcquiem Mass in its Black Com­ 1990 CD, and also a cassette containing López posers' Series, a series now again commercially avail­ Capillas's Missa Alleluya premiered at Mcxico City able after reissue under another record label. A Cathedral in 1656. This mass and other works on the Cuban-born composer who enters the samc Black same cassette were performed over BBC, London, Composers' Series may also be here rnentioned, José six years ago by an ensemble conducted by Bruno White (1836-1918), who after touring North and Turner that included many of the instrumems popu­ and serving as director of chamber lar in Mexico during the epoch, but that are music at Dom Pedro ll's court in Rio de Janeiro, now no longer current (bajones and bajoncillos, for rcturned to spend his Jast years at París, where he instance). had in his youth receivcd his advanced training as a Continuing in the same track, The Hilliard En­ concert violinist. semble recorded in 1991 Spanish and Mexican Garcia and White are included in Eileen South­ Renaissance Vocal Music (EMI Records, CDS 7- ern's Biographical Dictionary of Afro-American and 54341-2). The works by Hernando Franco, Juan de African Musicians (1982). Not includcd in her dic­ Lienas, and Juan Gutiérrez de Padilla in this double tionary, but cqually worthy of inclusion beca use of CD amply prove that New World cornposers active their at least partía! African descent would be Juan befare 1665 did not lag behind their contemporaries Manuel Olivares ( 1760-1797) and his -born in the Old World. colleagucs of at least partial African desccnt. The composcr of the Pcruvian national anthem, Jo~é Masterpiece~ by such South American maestros as Bernardo Altedo = Alcedo, not yet included in Sou­ Gutierrc 1-ernández Hidalgo, Juan de Arauja, thern's dictionary, might equally wcll be includcd, Tomás de Torrejon y Velasco, and José de Orejón since his mother was of African dcsccnt. 13.2 INTER-AMERIC AN MUSIC R EVIEW

Any of thc compo<;crs active in thc viceroyaltics Paesky and his far-seeing distinguished wife, Doc­ pas of Mexico and Peru who wrotc wi1h tora Emma Garmendia de Paesky, The Catholic ni a Africanisms in thcir texts and with a strong rhythmic Univcrsity of America shines as a beacon lighting not Thl pulse imitativc of drumbeats might also be listed in only the productions of contemporary composers ten discussing African influences in Western Hemispherc from south of the Rio Grande but also lighting the Añ music before 1he advent of ragtime and of jazz. ln­ pathways of the past. The glories of a composer such bol dced it may be easier for the music educator in both as Alberto Ginastera are not diminished by our fo1 North and South America to attract the casual knowledge of what previous composers accom­ 191 li~1ener to the hi storie music of Spanish- and Por­ plished in Argentina. Our respect for Revueltas's ~~~ tuguese-speaking nations wilh performanccs and achicvement is not lessened because the villancicos ti\' recordings of negros, negrillas, negritos, guineos, by that Manuel de 7.umaya composed in 1715 are ex­ eo Gaspar Fernández, Juan Gutiérrez de Padilla, An­ humed and recorded. What Enrique Iturriaga, of tonio de Saluar, and Juan de Arauja, none of Edgar Valcárcel, and Celso Garrido-Lecca com­ be whom boasted African ancestry, than with perform­ posed in 1he 1970's <.loes not lose stature because in 19 ances and recordings of surviving works by com­ 1976 the Biblioteca Nacional at Lima cooperated posers of truly African descent on their mothers' or with the OrganiLation of American States in publish­ both sides, such as José Maurício Nunes Garcia, ing a critica! cdition of the first extant opera com­ Juan Manuel Olivares, José Bernardo Alcedo, and posed on American soil, Tomás de Torrejón y José White. Velasco's La púrpura de la rosa, with libretto by However we as music educators go about our Pedro Calderón de la Barca, performed at Lima, tasks, the musical patrimony of Spanish- aml Por­ Peru, in 170 l. So renowned an Argentinian as Al­ tuguese-spcaking Amcrica rises befare usas an im­ berto Ginastera avidly welcomed discovery and tran­ perative. We cannot any longer wait for performing scription of so transcendent a landmark in South groups in English-speaking countries 10 monopolizc American musical history as Torrejón y Vclasco's the recording and performance of masterpieces 170 1 La púrpura de la rosa. 1nd eed, he wished to do created in OAS nations beginning wi th letter A and for it what Raymond Lcppard did for Franccsco cnding with lcttcr V. The few attempts at recording Cavalli's L 'Ormindo-that is to say, bring it into the historie patrimony of Argentina, , Mexico, current repertory lists with a realization such as and Peru that have been made in these countries Ginastera gave a Zipoli keyboard Toccata. lhcmselves have failecl to attract the attention that Let us therefore unite forces, music educators thc works themsclves descrve eilher because the per­ north and south. We cannot teach our students all formances have becn inadequate or because the there is to know about Bach, Beethoven, and recordings wcre made with out-of-da1e equipment. Brahms. But Jet us not therefore stop midway, say­ These in adequacies can be remedied by the same ing that it is hopeless to attempt knowing the recog­ lcvel of funding that madc and makes possible the nized masterpieces of even the pillars of European cxcavation of Maya, Mochica, and other archaeo­ music literature, and that therefore we are under no logical sites. obligation to acquaint ourselves with the historie In 1937 thc eminent Mexican composer Silvestre patrimony of our own nations. Not out with J .S. Revueltas was invited 10 sketch a panorama of Mex ­ Bach who died at in 1750 but in with both ican musical history for the benefit of a Spanish au­ him and Manuel de Zumaya who dice! at Oaxaca in dience. He began by stating that Mexican music was 1755. Not out with \V. A. Mozart who died at a very young phenomenon, having hegun in the year Vienna in 1791 but in with him and also with the 1928 whcn Carlos Chávcz returned to Mcxico City Guatemalan gcnius Rafael Antonio Castellanos who from New York to take thc reins of thc national con­ died in the samc year. Not out with Bcethoven who c;ervatory and to found the Orquesta Sinfónica de dicd in Vienna in 1827 but in with him and also with México. Revueltas obtained all his O\\ n advanced thc fm her of Brat.ilian music, José Maurício Nunes musical training at thc Chicago Musical College. Garcia who died at Río de Janeiro in 1830. Not out Evcn today in such a comervatory music history st ill with Debussy who died at París in 1918 but in with resides in the hands of teachers whose basics are the him and also with José \Vhite of Matanzas, , lhree B's. Thank'> to such geniuscs a~ Maestro Efraín who died at Pari!> in the samc year as Dcbussy, 1918. Octavo Conferencia Interamericano de Educación Musical 133

We live in an epoch when we commemorate our composer of an ~xtant opera written on American past cultural heroes with centenaries, sesquicenten­ soil, Tomás de Torrejón y Velasco, whose decease nials, and bicentennials of their deaths and births. at Lima in 1728 would have bcen marked with a The year 1991 is Mozart ycar. But we need no bicen­ 250th-year commemoration in 1978. tennial to celebrate his music. The year 1985 was Let us now go forward with a more glorious fu­ Año de la Música because Bach and Han<.lel were ture because we who are cducators can now makc both born in 1685. How glorious would it have bcen the whole sweep of history our heritage, the wholc for us in Mcxico to have commemorate<.l also in repcrtory of the romance-speaking nations in the 1985, that same Año de la Música, the deccase at Western Hemisphere our possession, and can now Mexico City in 1585 of the first great composer ac­ tell our composers of the future, your nation's mu­ tive on American soil, Hernando Franco. In 1978 we sical past did not begin nine years ago when Carlos commemorated the untimely death at Vienna in 1828 Chávcz returncd to Mexico City from New York of Franz Peter Schubert. How well would it have City, but instead began before Cortés and Pizarro been for us in South America during that same year trod American shores. This is not only our privilege, 1978 to havc commemorated the decease of the first this is our patriotic duty.